Statues – Together We’re Alone



Together We're Alone


Highland Records




For Fans Of

Dillinger Escape Plan, SikTh, The Chariot, Norma Jean.


Hits as hard as a New Years hangovers, except you'll want to experience this over and over again.


90 / 100

So, if you’re on the ball and are aware of Perth’s Statues then you probably would have seen a host of other Aussie media outlets giving them the two big thumbs up for their debut album, ‘Together We’re Alone’. Now is this album given a 90 on here because everyone else said that it was the dog’s bollocks? Fuck no! This album gets a 90 because it’s a fantastic record from start to finish.

But what makes it fantastic you ask?

Well firstly because Statues music is like a swift, unwarranted punch to the jaw and before you realise just what the hell is going on, the band has already assaulted you, taken your money and left you for dead. These five dudes (who are probably complete sweet hearts and not vicious muggers) are our answer to American bands like Norma Jean, Vanna, The Dillinger Escape Plan, and The Chariot, and even to the UK’s SikTh (all hail!). In fact, those aforementioned bands are easily the most distinguishable influences for this quintet, and are the closest comparisons sound-wise too. But you would be hard pressed to find someone complaining about this with songs this tight, songs this bold, and songs with this level of energy.

Secondly, this record is seemingly sporadic and lacking in any sense of structure, but there’s still a method to the madness in the music if you dig into it further than just its face value. Once you do dig in, you’ll find it’s still a chaotic and loud, noisy, and abrasive record, but also a unique, chilling and an ultimately fulfilling record. Plus, if you ever wanted to clear out a party then just throw this on and you’ll have the whole place to yourself in no time flat. In all seriousness, while Statues have had a fair amount of material released over the past five years since their inception, ‘Together We’re Alone’ is what’s going to make people stand up and go, “Holy fucking shit balls, this album is THE shit! I need to share this band with everyone I know!”

Thirdly, one thing that this group, and this brand of hardcore music does so well is not just its ferocity but also its unpredictability and non-generic nature. You have so many things going on at once, yet there is clarity (the great mix really helps that out) and you never lose sight of one single aspect of a song. Thus you’re not just bobbing your head to yet another down-tuned breakdown or another cheesy crowd sing-along section, you’re fully engaging in the music as it spills over, even when the vocals are strained and raw, the guitars and drums seem all over the place, and the bass is thunderously ringing out.

Moreover, the heavier and more mosh-pit inducing moments are rare but when they hit, oh boy, do they hit hard. There is way more impact here than most other metalcore bands in your local scene could muster up in their whole careers. Just look at tracks like ‘Oh, Precious Commodity’ (arguably the best of the bunch) and ‘Always Building, Always Breaking’. These two have some truly impactful moments towards their respective ends, and they never get old. ‘Abide’ and ‘Affliction Prescription’ (originally older singles) sound like something right off The Dillinger Escape Plan’s Calculating Infinity’ or ‘Miss Machine’ with their tight and chaotic drumming complementing the sporadic and jabbing guitar riffs that shoot out in all directions.

Now, it’s not all balls to the walls, bat-shit insanity as the band interjects some serenity into the album with the clapped-out, bluesy, swinging vocals of ‘I Want Piece’, and the country sounding guitar idly strumming away on ‘Hope Is‘. These are real far cries from the rest of the full-length, yet they don’t ever feel out of place, rather, they feel necessary for the album to be its full whole as it creates contrast so you can appreciate when the band is assaulting your ears and when they are making them sing. Furthermore, the latter also acts as a nice and calm prelude to the final piece of chaos; the dynamically shifting ‘Within Arm’s Reach’, which closes out a near-perfect record with a solemn acoustic guitar and strained screams repeating, ‘Maybe hope’s not as far as we thought…’. Solid stuff.


It goes without saying that this isn’t your typical, cookie-cutter hardcore, but despite the crazed techniques and sonics of the record, there isn’t a level of fedora wearing pretentiousness about it and equally, it lovingly invites you in. So make sure you aren’t a rude bastard, go in and give it the time of day it so whole-heartedly deserves because we’re not even two weeks into 2015 and we already have a brilliant record from an equally brilliant Australian band. Now, we just gotta hope that the next 50 weeks bode just as well for other bands, because they’ve got some really stiff competition from the boys in Statues.


1. All Fears Are learned, All Victories Are Earned

2. Always Building, Always Breaking

3. Oh, Precious Commodity

4. Foreseeing The Cloud And Not The Rain

5. Affliction Prescription

6. I Want Peace

7. Abide

8. Burning The Truth At Both Ends

9. The Wanderer

10. Hard Words, Softly Spoken

11. Hope Is

12. Within Arm’s Reach

Leave a Reply

You must be registered and logged in to comment on this post.